scholarly journals Design practice of interactive imaging art in the new media art-Taking “Ink-wash Tai Chi” as an example

2019 ◽  
Vol 277 ◽  
pp. 02023
Author(s):  
Lu Geng ◽  
Lei Cao

In order to be accepted by the extensive public, the traditional culture requires digital media interactive methods featuring “diversified sensual experiences” and “interactivity” to adapt better to the development tendency of cultural communication under the background of new media. The design practice, with Tai Chi culture as the content and using motion data captured by infrared sensor Kinect combined with digital art creation platform Processing as the technical measures to implement interactive imaging. The work will give interactive experience to the experiencer and promote the spread of Tai Chi culture.

2019 ◽  
Vol 9 (3) ◽  
pp. 198 ◽  
Author(s):  
Elena Chatzara ◽  
Rigas Kotsakis ◽  
Nikolaos Tsipas ◽  
Lazaros Vrysis ◽  
Charalampos Dimoulas

Art and technology have always been very tightly intertwined, presenting strong influences on each other. On the other hand, technological evolution led to today’s digital media landscape, elaborating mediated communication tools, thus providing new creative means of expression (i.e., new-media art). Rich-media interaction can expedite the whole process into an augmented schooling experience though art cannot be easily enclosed in classical teaching procedures. The current work focuses on the deployment of a modern-art web-guide, aiming at enhancing traditional approaches with machine-assisted blended-learning. In this perspective, “machine” has a two-folded goal: to offer highly-interdisciplinary multimedia services for both in-class demonstration and self-training support, and to crowdsource users’ feedback, as to train artificial intelligence systems on painting movements semantics. The paper presents the implementation of the “Istoriart” website through the main phases of Analysis, Design, Development, and Evaluation, while also answering typical questions regarding its impact on the targeted audience. Hence, elaborating on this constructive case study, initial hypotheses on the multidisciplinary usefulness, and contribution of the new digital services are put into test and verified.


This chapter examines many types of new media art that are being created with computing. Displaying art becomes a tool for exchanging information and ideas that also creates channels for the viewers’ input through digital art interactive events. Biology inspired computing applied for artistic tasks has often a mutual relationship with scientific research involving evolutionary computing. Net art, along with other electronic art media, may be seen closely related to the semantic networks and social networking media. Many times these media provide computational solutions for entertainment.


Leonardo ◽  
2017 ◽  
Vol 50 (2) ◽  
pp. 170-176
Author(s):  
Sjoukje van der Meulen

Despite the relevance of new media art for the critical understanding of the information and network societies today, it is largely ignored as a socially engaged practice—certainly compared to other forms of socially engaged artistic practices in the international field of contemporary art. This article outlines the reasons for this relative neglect and specifies different kinds of new media art that qualify for the category of socially engaged art beyond leftist politics and ideologies transposed to the realm of art. Proposing and mobilizing a “media-reflexive” art theory, which emerged from the author’s doctoral dissertation, this claim is substantiated by the analysis of three exemplary digital art projects by Joseph Nechvatal, George Legrady and Blast Theory, respectively.


Author(s):  
Pragati Garg

While creating the creation, God filled the beauty of the universe with unlimited beauty. It also contains beauty as well as spirituality. Art has been expressing the sentiments of human beings from the creation of the universe itself. Man has been expressing his feelings since time immemorial. As human senses developed, art also matured. All the forms provided by nature and the bizarre emotions and rasas evoked in our minds by the artists through different shelters or bases are embodied with the help of various Karan-implements. Epoch changes with inexorable change, and along with it, traditions, styles, language, forms all change, but the tangible form of soul and heart never changes. Just as colors were valued by the creation of life, colors have remained their dominion ever since. He changed but his main source did not change. The artist has made the plan of this original form the subject, and today he has set the paintbrush of the expressions expressing emotions on the threshold of renewal, which is presented to us in the form of digital art. Prior to the 18th century, there were scientific inventions that changed the nature of art itself, a variety of technological developments that gave the traditional art of modern art a renewal. What is today known as digital art, it is known by many names such as computer art, multimedia art and new media art, under which the colors used in traditional form are presented in a new form by digital technology. Do, which greatly affects the viewer. ईश्वर ने सृष्टि की संरचना करते समय सृष्टि के कण-कण में असीमित सौन्दर्य भर दिया। इसमें सौन्दर्य के साथ-साथ प्राणतत्व भी निहित है। कला मनुष्य के भावों को सृष्टि के सृजन से ही व्यक्त करती आयी है। आदिकाल से मनुष्य अपनी भावनाओं की अभिव्यक्ति करता आया है। जैसे-जैसे मानवीय संवेदना विकसित होती गयी, कला भी परिपक्व होती गई। प्रकृति द्वारा प्रदत्त सारे रूप और उन रूपों द्वारा हमारे मन में उद्बुद्ध विचित्र भाव एवम् रसों का कलाकार भिन्न-भिन्न आश्रयों या आधारों के माध्यम से विभिन्न करण-उपकरणों की सहायता से मूर्त करते हैं। निष्ठुर परिवर्तन के साथ युग बदलता है और उसके साथ-साथ परम्परायें, शैलियाँ, भाषा, रूप सभी परिवर्तित हो जाते हैं परन्तु आत्मा और हृदय का मूर्त स्वरूप कभी नहीं बदलता। जिस प्रकार रंगों का महत्व जीवन के सृजन से हुआ, तब से रंग अपना प्रभुत्व बनाये हुये हैं। उसका परिवर्तन तो हुआ परन्तु उसका मुख्य स्त्रोत नहीं बदला। कलाकार इसी मूल रूप की योजना को विषय बनाकर आज वह भावों को व्यक्त करने वाले तूलिका घातों को नवीनीकरण की ऐसा दहलीज पर खड़ा कर दिया है, जो डिजिटल आर्ट के रूप में हमारे समक्ष प्रस्तुत है। 18वीं शताब्दी से पहले वैज्ञानिकी अविष्कार हुये जिन्होंनें कला के स्वरूप को ही बदल दिया, कई प्रकार के तकनीकि विकास किये जिन्होंने परम्परागत चलते आ रहे कला को एक नवीनीकरण का स्वरूप दिया। जिसे आज डिजिटल आर्ट के नाम से जाना जाता है, इसे अनेक नामों से जाना जाता है जैसे- कम्प्यूटर आर्ट, मल्टीमीडिया आर्ट व न्यू मीडिया आर्ट कहा जाता है, जिसके अन्तर्गत हम परम्परागत रूप में प्रयुक्त रंगों को डिजिटल तकनीक द्वारा एक नये रूप में प्रस्तुत करते हैं, जो दर्शक को बहुत प्रभावित करता है।


Author(s):  
Boyan Blazhev ◽  

With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art


1970 ◽  
pp. 162
Author(s):  
Mikkel Thelle

Rather than being a conference, ISEA 2011 is a festival of digital media, art and culture. The many different formats and activities are stimulating, but it is also sometimes difficult to find an overall perspective from which to describe the whole event. This year ISEA, which is one of the major digital festivals, was held in Istanbul, a city whose diversity was a mirror of the event itself. Among the many sessions can be highlighted themes such as “the logarithmic turning point”, which focuses on the influence that digital programming has had on global culture; ”media architecture”, understood as interactive façades in urban spaces; ”the curatorial gesture”, about curating and archiving new media and the issues around the role of New Media Art in art history. More generally, ISEA was permeated by the new media replication and unpredictabi- lity of new media, one expression of which was the festival’s ”Uncontainable” curatorial theme. As a negotiation of form and content, museums of cultural history in particular have something to learn from art and new media.


Leonardo ◽  
2002 ◽  
Vol 35 (5) ◽  
pp. 499-508 ◽  
Author(s):  
Gregor Muir

Given the task at hand, “to select new media works that have changed or are impacting the course of new media art and music,” the author, along with his colleagues, set out to identify the fullness of the digital spectrum. The article explains his selections of artwork by consciously establishing a past, present, and future media collection. He begins with a 1965 piece from Nam June Paik and ends with JODI.org, acknowledging the large jump made from past to present media. Concluding the article with a look at the history of digital art, the author raises comparisons and dilemmas that allow readers to question and reflect on the status of new media art.


2014 ◽  
Vol 12 (2) ◽  
pp. 70-85
Author(s):  
Slavko Kacunko

In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evolution towards increasing complexity without the reciprocal playing-off of self-referential ‘life’ against ‘hetero-referential’ technique. The second part refers to the continuity of research undertaken in media, art and art-history and discussion in related fields while the concepts of ‘new’ media have repeatedly admitted the Closed Circuit as a core category in ‘New’ Media Art. The third part introduces one content-related categorization of Closed Circuit video installations which has been regarded as representative for the general ‘fields of inquiry’ of both analogue and digital media art. 


Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Xtine Burrough ◽  
Owen Gallagher ◽  
Eduardo Navas

This special issue of Media-N on contemporary approaches to remix was inspired by Jorge Luis Borges’s short story, “The Garden of Forking Paths,” a recurring point of reference in the development of media culture. Prior to terms such as new media, digital art, media art, and remix, Borges’s narrative exploration of bifurcation as a means of reflecting on the possibility of multiple simultaneous realities with no clear beginning or end has offered a literary and philosophical model for creative uses of emerging technology throughout the twentieth century. The essays included in this special issue provide a glimpse into the relation of Borgesian multiplicity and remix as an interdisciplinary methodology. 


Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Mark Amerika ◽  
Laura Hyunjhee Kim ◽  
Brad Gallagher

In the just-published Remixing Persona: An Imaginary Digital Media Object from the Onto-Tales of the Digital Afterlife, artists Mark Amerika and Laura Hyunjhee Kim perform as MALK, a new media remix band that ruminates on the post-digital life of the traditional scholarly book. Working against the concept of an e-book, the publication includes an original music video titled the Digital Afterlife as well as a downloadable PDF that the artists refer to as an imaginary digital media object (IDMO). The work has been released as the inaugural publication in the new MEDIA : ART : WRITE : NOW series with Open Humanities Press. For this special issue of Media-N, MALK proposes their next IDMO track by focusing on the relationship between AI-generated forms of remix and artist-generated forms of psychic automatism. The experiment will start with the artists improvising a cluster of hand-drawn charts that conceptually blend their musings on what they refer to as “future forms of artificial creative intelligence.” The language in these charts will then serve as source material to input into an advanced Generative Pre-trained Transformer to trigger source material for a new music video and an adjoining PDF. Our question is whether the Generative Pre-trained Transformer as an advanced yet still essentially weak AI can co-write the artists’ IDMO as they address issues related to their research into psychic automatism and artificial creative intelligence.


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